Events: CRSA / NYARC event at Brooklyn Museum

Please join The Catalogue Raisonné Scholars Association for a program organized by the New York Art Resources Consortium:

Thursday, August 7th, 4-5:30pm
Brooklyn Museum Library Reading Room

Reception to follow, Museum open until 10pm
Space is limited – RSVP to rsvp@catalogueraisonne.org
Brooklyn Museum Directions, Current Exhibitions

Program

Overview of NYARC and Its Programs. Lily Pregill, NYARC Coordinator & Systems Manager for the New York Art Resources Consortium.

NYARC Digital Projects. Stephen Bury will provide a brief overview of all the NYARC digital projects. In particular Dr. Bury will speak about the Frick’s Photoarchive digitization and image analysis projects.

Making the Black Hole Gray Project. Sumitra Duncan will provide a brief history and update on current work undertaken for the Mellon funded NYARC project “Making the Black Hole Gray: Implementing the Web Archiving of Specialist Art Resources.” Ms. Duncan will also review what NYARC has done so far with cataloging online catalogues raisonnés and eBooks and collaboration with other digital vendors (JSTOR, Artifex, etc.).

M-LEAD 2 Grant Program. Kim Loconto will provide a brief history of the M-LEAD program and talk about M-LEAD 2 and NYARC and the work being accomplished by the interns from Pratt Institute.

PDF overview and speaker bios

Suggested Reading: N. C. Wyeth Catalogue Raisonné of Paintings

Artist: N. C. (Newell Convers)  Wyeth  (1882-1945)
Title:  N. C. Wyeth / Catalogue Raisonné of Paintings  (two volumes)
Key Contributors:  by Christine B. Podmaniczky; with essay by Joyce Hill Stoner
Publisher:  Wyeth Foundation for American Art, Brandywine River Museum of Art in conjunction with Scala Publishers, Ltd.
Published Date:  2008
ISBN: 978-1-85759-478-2
Organized by/Supported by:
Organized by the Brandywine River Museum of Art; supported by the Wyeth Foundation for American Art
Works covered:   1,928 paintings
Years covered:  Oct. 1902 – Oct. 1945

CRSA: How is the N. C. Wyeth Catalogue Raisonné of Paintings organized?
Christine Podmaniczky: The catalogue is divided into  sections—Illustration, Murals and Architectural Decoration, Commercial Work, Landscapes, Still Life, Portraiture and Private Paintings and Other Work. Within these distinctions, the paintings are presented chronologically. The actual pages are three columns wide, and painting reproductions span one or two columns or take a complete page.
The catalogue opens with an extensive historical essay and an essay on Wyeth’s working methods from the viewpoint of a conservator.  Back matter includes a bibliography, time line, and exhibition history.

CRSA: How how much time was dedicated to research?
CP: Research and organization for the printed version were completed over a period of 18 years.  Beginning in 1990, the project was conducted by a half-time staff member of the Brandywine River Museum of Art; after 1999, the project included a full time staff member and a part time assistant. Since the publication of the hardcover version in the 2008, the BRMA has supported regular updates to the on-line version.

CRSA: Looking back, what was the project’s most valuable resource?
CP: To our knowledge, N. C. Wyeth did not keep daybooks or other records of his work. Therefore, his correspondence turned out to be the most crucial resource for the project. N. C. Wyeth was an avid letter writer, and his letters to his family (preserved by the family) were valuable for descriptions of the paintings on which he worked and for accounts of the original disposition of paintings.  Also valuable in establishing provenance were collections of secondary correspondence, such as letters from owners written to the Wyeth family after N. C. Wyeth’s death and letters written to the Brandywine River Museum from 1970 on.

CRSA: Are there other categories of Wyeth’s work not covered in this CR?
CP: There are entries for approximately 800 drawings in the on-line version of the N. C. Wyeth catalogue raisonné.  No further volumes are being considered.

CRSA: How does the online N. C. Wyeth Catalogue Raisonné differ from the print edition?
CP:
 The on-line version of the catalogue raisonné can accommodate far more information than the printed edition, and on-line entries are usually more detailed than those in the printed edition.  For example, additional images can be attached to the on-line entries, making it possible to illustrate both an original and altered appearance, a problem in conservation or a view of an installation that is no longer current. On-line entries might also contain relevant quotations from letters, source material, or other archival matter.

CRSA: Is your research ongoing?
CP: N. C. Wyeth’s work is a particular focus of the Brandywine River Museum of Art, and ongoing research for various projects inevitably reveals new material related to the artist’s career.  When relevant, such information is incorporated into the on-line catalogue raisonné.  In the past the museum has supported a review committee to consider additions to the catalogue; that process is suspended at this time while the submission forms and procedures are evaluated.

For more information, please visit the N. C. Wyeth catalogue raisonné website www.ncwyeth.org. Christine Podmaniczky can be reached at cpodmaniczky@brandywine.org or 610-388-8354.

CatRais2
Volume 2, cover

CR Page
Sample page from print edition

NCWyeth CR Webpage
Sample page from digital edition (click to continue to http://www.ncwyeth.org/)

Project Profile: Jasper Johns Catalogue Raisonné of Drawings

Jasper Johns. Two Flags, 1969. Graphite pencil and collage on paper. 22 1/4 x 30 3/4 in. The Menil Collection, Houston. © Jasper Johns / Licensed by VAGA, New York, NY. Photograph: Jamie M. Stukenberg / Professional Graphics Inc., Rockford, Illinois.

 

Artist:  Jasper Johns (b. 1930)
Planned Title:  The Catalogue Raisonné of the Drawings of Jasper Johns
Years Covered:  1954-2014
Print or Digital:  Print
Publisher: To be announced
Database:  FileMaker
Schedule:  2011–2016; Expected publication date Fall 2016
Supported by:  The Menil Collection, Houston, in cooperation with the artist
Key Staff: Allegra Pesenti (Chief Curator of the Menil Drawing Institute), Bernice Rose (Advisor), Eileen Costello (Editor and Project Director); Kate Ganz (Senior Editor); Caroline Gabrielli (Senior Project Associate); Christian Wurst (Exhibitions Researcher); Kim Costello (Literature Researcher)

CRSA:  What are some of the Johns Drawings Catalogue Raisonné’s primary resources?
JJDCR:  At the start of our project, the artist’s studio provided us with Mr. Johns’s complete drawings inventory, which we migrated into our specially designed database. This laid the foundation for our research in addition to the numerous comprehensive retrospective exhibitions of Mr. Johns’s work that have taken place over the past several decades. We were also very fortunate to have access to invaluable primary resources located in the archives of the Museum of Modern Art, New York; The Getty Research Institute, Los Angeles; The National Gallery, D.C; The Art Institute of Chicago; The Menil Foundation, and a number of commercial galleries. The Archives of American Art continues to be a rich resource, especially The Leo Castelli Gallery records, which became available the year we commenced our research. Our project has also benefited from the artist’s cooperation and his studio’s assistance, especially in regard to photography. Further, as a Menil Foundation project, we benefit from their reputation for publishing scholarly exhibition catalogues as well as the highly regarded René Magritte and Max Ernst catalogues raisonné.

CRSA:  This project is one of two separate catalogues raisonnés currently being prepared on the artist.  Is there any project overlap or opportunities to collaborate?
JJDCR:
 Roberta Bernstein, under the aegis of the Wildenstein Institute, had begun work on a catalogue raisonné of the artist’s paintings and sculptures several years previous to our project. Although dealing with entirely different mediums, in a number of instances, the two projects often shared secondary (literature and exhibition) research, which proved mutually beneficial.

CRSA:  How do you hope this publication might affect the public’s understanding of Jasper Johns?
JJDCR:  The Drawings Catalogue Raisonné will present each drawing as factually and visually accurate as possible.  As the definitive publication of Mr. Johns’s drawings oeuvre, our hope is to make that aspect of the artist’s work more accessible—visually and intellectually—to a broader audience.

CRSA: What specific challenges do you face in researching Johns?
JJDCR:  The extensive amount of primary resources available to us concerning the artist and his work has expedited our research. The artist’s renown has also facilitated our project. We’ve dealt with the anticipated challenges in compiling a catalogue raisonné such as artworks with complicated provenances or exhibitions that were a little more difficult to verify because of a lack of records. However, our dedicated and persistent research staff has been able to track down many of these “unavailable” records as well as a number of “lost” drawings, which we weren’t entirely sure would ever be found.

CRSA: Are there plans for additional content beyond artwork/exhibitions/bibliography, such as essays or appendices?
JJDCR: There is discussion of including a drawing-centric chronology. However, as of this date, it is still too early to decide on additional content.

CRSA: Does this project update or expand upon a previously published catalogue raisonné of the artist’s work?
JJDCR: This will be the first catalogue raisonné of the artist’s drawings.

CRSA: Are there plans for supplements or a digital adaptation?
JJDCR: For now we are planning a printed publication only. However, we are considering adapting a digital version, but no decisions have been made about this yet.

For more information, please refer to the website jasperjohnsdrawings.menil.org or contact Caroline Gabrielli at cgabrielli@menil.org.

Project Profile: The Daumier-Register

Selfportrait by Honoré Daumier, 19th century, drypoint. Property of the Cleveland Museum of Art. Gift of E. Weyhe 1930.534

Selfportrait by Honoré Daumier, 19th century, drypoint. Property of the Cleveland Museum of Art. Gift of E. Weyhe 1930.534

 

CRSA recently sat down with Dieter and Lilian Noack to talk about their monumental 14 year effort, the Daumier-Register, an ongoing digital catalogue of the works of Honoré Daumier.  The site launched in 2001, giving it the distinction of being one of the first and longest running digital catalogues of one artist’s work in the field.  Over the course of our interview, we learned many ways their project relates to and departs from the traditional (printed) catalogue raisonné format:

Artist:  Honoré Daumier (1808 – 1879)
Organized by / Staff:  Dieter and Lilian Noack
Publication format: Digital, accessible via http://www.daumier-register.org and http://www.daumier.org
Scope: 4000 lithographs, 1000 wood engravings, 550 oil paintings and 100 sculptures
Forthcoming content: 1,500 drawings
Database:  Microsoft Access
Prior publications:  The Daumier-Register builds upon a fairly long list of catalogues on the artist, dating back to 1888, including those by:

Arsène Alexandre (Paris, H. Laurens, 1888)
Erich Klossowski (München, R. Piper 1908 and München, R. Piper, 1923)
Eduard Fuchs (München, A. Langen, 1930)
Jean Adhémar’s (New York, Macmillan, 1954)
K.E. Maison (v. 1 London, Thames and Hudson, 1967-68,v.2 London Thames and Hudson New York, NY Graphic Society 1968)
Gabriele Mandel, Luigi Barzini and Pierre Georgel (Milano, Rizzoli 1971, and Paris, Flammarion 1972)

Primary resources: A primary resource for the Daumier-Register is the 1968 CR by K.E. Maison, but they have built on this by contacting museums and archives, and reviewing exhibition and auction catalogues from the 1860 onward with the help of the Watson Library and Frick Library.
Updates: While their database is updated regularly as research develops, the site undergoes a major update once or twice per year.  Minor changes occur on an ongoing basis.
Digital-only benefits:  The site includes three language options (English, French, and German), multimedia content, and more than 700 “themes” related to the artist and his practice so that scholars can identify, for example, all works that include or relate to “lawyers” or “bookdealers,” or combine up to four themes in a search.

Events: Authentication in Art Congress 2014

Of interest to CRSA members, Authentication in Art is holding its 2014 Congress in The Hague May 7-9.  The program is distributed across three days, with the ambition to present a final declaration addressing guidelines and protocols.  Topics covered will include the history of authentication of paintings, connoisseurship and the issuing of opinions, standards for scientific and technological research, among others.   For more information, the complete Program and to Register for the Congress, visit the AiA website:

http://www.authenticationinart.org/congress-2014/